Features
Ran Muthu Duwa
(First Colour Feature Film in Sinhala)
By Rohan Abeygunawardena
(abeyrohan@gmail.com) and
Ananda Wickramarachchi
This article is dedicated to all the crew members of the first Sinhala colour film Ran Muthu Duwa that was screened 60 years ago on 10 August 1962.)
Sir Arthur Charles Clarke CBE FRAS was very well known world over as a renowned English science-fiction writer, science writer, futurist, inventor, undersea explorer, and television series host. But very few knew him as a producer of Sinhala feature films. He embarked on that for the benefit of the people in his host country Sri Lanka.
His first film co-produced with Mike Wilson and Shesha Palihakkara was Ran Muthu Duwa or Island of Treasures Ran Muthu Duwa was the first full-length Sinhala feature film in colour. The film was released on 10th August 1962, 60 years ago.
The film was directed by Mike Wilson, a photographer who immigrated to newly independent British colony of Ceylon in 1956 along with Arthur. Mike was originally from New Zealand and then lived in Britain and USA. Two friends Arthur and Mike were the early adopters of aqua-lung, invented in the mid-1940s which enabled divers to spend extended periods of time underwater. Both were “Scuba Divers” and lovers of exploring undersea and spent two adventurous years exploring the Great Barrier Reef in Australia before arriving to Ceylon (now Sri Lanka). They have produced many rare underwater photographs taken during underwater expeditions. These were illustrated in Arthur’s book “The Coast of Coral.”
There was a very fascinating story behind making Ran Muthu Duwa. Arthur and Mike embarked on an underwater exploration expedition off the southern coast; in proximity to Yala off Kirinda beach. These were vast coral reefs found in Sri Lanka. Their friend Rodney Jonklaas, a Sri Lankan marine biologist and a diver also joined them.

This area exposed to the force of both monsoons, and the sea was very rough throughout the year and many a ships sank during the period of European colonisation. British realised the necessity to build offshore light houses for the safety of seafarers. They completed the project building two lighthouses known as the Great Basses and Little Basses using modern lenses called hyper radiant Fresnel lenses. The lighthouses were named Maha Ravana Kotuwa” and Kuda Ravana Kotuwa in Sinhala.
While exploring underwater terrain close to Great Basses and Little Basses Arthur, Mike and Rodney discovered bags of silver coins, cannons, and other artefacts on 22nd March 1961. Further research conducted by them examining historical records at Colombo Museum and other libraries established that the silver coins were from an early 18th century sunken ship belonged to Mughal Emperor Aurangzeb. Their discovery was named the “Great Basses Wreck.”
Mike in his late twenties was an energetic young man was very keen to make a colour feature film based on their discovery. He has already produced a short film based on the underwater experiences around Great Barrier Reef in Australia when exploring it with Arthur. Mike, together with Arthur and Rodney, also wrote, photographed and directed the 25 minute documentary “Beneath the Seas of Ceylon” in 1958. This was the first film that displayed the beauty under the Sri Lankan oceans. Rodney once mentioned that he had learnt photography in general and underwater photography in particular from Mike.
Mike and Rodney approached Shesha Palihakkara who agreed to co-produce the film. Arthur, Mike and Sesha setup a company by the name Serendib Productions to make the film. The storyline was developed by Mike who had the knack for writing stories during his schooldays.
Storyline
Bandu, a young man had a dream on a Wesak night. His father who was a pearl oyster diver, passed away several years ago, appeared and advised him to remove the pendant that hangs from a chain worn round his neck as it could bring bad luck to his life. Bandu broke the chain in his sleep and woke up frightened and sweating. Bandu remembered that the pendant was a silver coin his father picked up while pearl diving close to their Ran Muthu Duwa (a fictitious island). The day after it was picked up his father had a mysterious death. The next morning, together with his two friends Sena and Raju, Bandu visited a jewellery shop. Shop owner, Danapala examining the coin realised the value of it and pretending as a coin collector offered Rs.350 to buy off. Three friends now very much inquisitive did not accept the offer and left the shop. Danapala sent a man to follow the young men.
Bandu and his friends now keen to find out more about the coin, visited Colombo Museum. According to the records, this coin was from a treasure of an ancient shipwreck. They decided to go to the village and meet Bandu’s uncle. Uncle helped them to meet a Swami living in the island. Swami told the young men that there had been a temple situated in this island. Portuguese ransacked and all the wealth possessed by the temple was taken away in a ship. But they couldn’t sail very far and the ship was wrecked by a sudden storm. This was now a treasure that had run aground as a result of the curse of the God. He further said whoever tried to recover it would meet his death.
In the meantime, Danapala too came to the island and met his old friends Muthusami and Kalidasan. A business rival of Bandu’s late father, Muthusami had become very rich now. Muthusami’s daughter was known to Bandu during their school days in the village. Muthusami’s intention was to give her daughter Kumari, in marriage to Kalidasan’s son Renga. In the meantime Bandu met Kumari and a love affair developed between the two. Kalidasan and Renga hated them.
Danapala, a cunning man he was, approached the young men and tried to persuade them to join his team to recover the treasurer. Bandu flatly refused. His intention was to recover the treasure and build a temple to enable the people to worship with Swami’s blessings.
Bandu and the friends hired a boat from Muthusami with the help of his uncle to explore underwater to locate the treasure. Bandu and Renga met each other under water and the latter tried to attack the former. The ensuing fight resulted Renga losing and drifting away unconscious. Bandu brought part of the treasure to the boat in a cane bucket. He went underwater again to bring the remaining part of the treasure against the advice of his friends. Accompanied by Muthusami, Danapala got into Bandu’s boat wielding a gun and over powered Bandu’s friends and the uncle. When Bandu came on board with the balance part of the treasure, Danapala tried to shoot and kill him. But Muthusami was against it and pushed Danapala off the boat.
In the meantime Kalidasan got hold of Kumari who was coming to the beach to meet Bandu. Kalidasan took her to the rock where the ancient kings beheaded the offenders. She was chained to the rock. She was submerged in the seawater when Bandu found her. Rajo ran into a hardware shop close by and forcefully grabbed a hand saw blade from the shop owner. He and the friends managed to cut the chain and rescued Kumari at the last moment.Bandu got the treasure, but he used part of that to rebuild the temple and handed over the balance to the government.
Cast
Mike and Sesha invited in 25-year-old Gamini Fonseka for the leading role, “Bandu.” Gamini was an extra in Rekawa and had acted in few films such as Daiva Yogaya (1959-minor role), Sandeshaya (1960-leading but not the main role). He initially wanted to be a cameraman but got the opportunity to work as a second assistant director of David Lean’s award winning “Bridge on the River Kwai” and Lester James Peries’ Rekawa.
Gamini never wanted a stuntman to perform his underwater scenes. Confident and arrogant, Gamini insisted that he should be given training in diving. He proved to be a good diver after few days of training. Gamini, the handsome and smart young man went on to dominate the Sinhala film scene for at least five decades.
Looking around, the producers found a 21 year old girl from Panadura Arts Association to play the role of the heroine. She was Jeevarani Kurukulasuriya. She has acted in a popular stage drama Maha Hene Riri Yaka a story written by late Prime Minister SWRD Bandaranayke and directed by Dick Dias. Jeevarani too became a popular actress in Sinhala Cinema, later on.
A friend of Arthur and Mike, Hector Eknayake was persuaded to play the villain’s role as Renga. Hector, a former Boxer also helped training the cast in fighting scenes in this action packed Sinhala production. Hector also trained Gamini in diving.
Others selected were Joe Abeywickrama as Sena, Shane Gunaratne as Rajo, Anthony C. Perera as Bandu’s uncle, Austin Abeysekera as Danapala, Vincent Vass as Kumari’s father Muttusamy, Thilakasiri Fernando as Swami, Eddie Amarasinghe as Sena’s friend, LakShmi Bai as Bandu’s mother, Sam P. Liyanage as the Moor hardware shop owner.
Others who contributed to the success of Ran Muthu Duwa:
Tissa Liyanasuriya was assigned with the task of writing the script and the dialogues in Sinhala, based on Mike’s storyline. He was also employed as the assistant director.
The film editing and other technical matters were assigned to Titus Thotawatte who had already carried out editing of Lester’s “Rekawa.”
Rodney Jonklaas assisted in the production and also as a diver of Danapala’s team.
Maestro W.D. Amaradeva got his very first opportunity to direct the music of a film. Together with Sri Chandrarathne Manawasinghe who did the lyrics they composed three songs. The theme song “Paramitha Bala” sung by Amaradeva and Nanda Malini. A love song for hero and heroine, Bandu and Kumari was “Galana Gangaki Jeevithe” and the playback singers were Narada Disasekera and Nanda Malani. “Pipi Pipi Renu Natana,” a group song was sung by Narada. For Nanda Malani and Narada this was the first break in the film industry to perform as playback singers. These songs were very popular even today after 60 years.
However Amaradeva composed only part of the background music. He was unable to travel to London with his musicians due to financial constraints to provide music at the time of processing of underwater scenes. Titus found a solution. He bought few instrumental music records (EP’s) and incorporated as background music. As a result part of the background music of the first Sinhala colour film was western, not the Maestro’s type.
Filming and Location
The film was shot in and around Trincomalee, Eastern Sri Lanka and close to Swami Rock (Kôṇâmalai) also called ‘lovers leap,’ where the ancient Koneswaram Hindu Temple perch atop it. Director of photography was assigned to W.A. Ratnayake. There were three cameramen. Outdoor filming was by Mike himself, underwater by Rodney and Sumiththa Amarasinghe filmed song sequence of “Galana Gangaki Jeevithe.”
Studio cameraman for the film was M. S. Anandan of Ceylon Studios.
Development and Critical reception
It was a genuine sunken treasure discovered by Arthur and Mike off Kirinda beach in the south of Sri Lanka that inspired energetic Mike Wilson to make Ran Muthu Duwa. Mike had written, shot and directed a short (25 mins.) underwater documentary film naming “Beneath the Seas of Ceylon” for Ceylon Tea Propaganda Board. Arthur was little hesitant initially but later agreed to provide part of the finance and also to help in production. The company Arthur, Mike and Sesha formed, Serendib Productions worked on a budget of Rs.450,000. Arthur provided start-up capital of Rs.50,000.

Ran Muthu Duwa
(Island of Treasures) was the first full-length colour film to be produced in Sinhala in Sri Lanka. While underwater filming was shot on using a 16mm Arri flex camera with double side perforation negative, for the other scenes a 35mm Arri flex IIc camera was used. The entire film was shot on Eastman Colour 32 ASA (American Standard Association). But the technology was such in the sixties there was no final colour negative. Instead 35mm four number of black and white matrices had to be technically processed for optical sound track and one each for three basic colours of Blue, Green, and Red (BGR) for printing the positives using BGR filters. Mike and Titus took the exposed negatives and dialogue tracks to Technicolor Laboratories in London for processing.
While Titus and Mike were processing the films with technicians at the Technicolor Laboratories in London, the famous film director Terence Young and his men were processing “Dr. No,” the first James Bond film in an adjoining studio. Terence hearing that an underwater feature film from the island of Ceylon was being processed, had barged into the studio and discussed the technical features of underwater filming with Mike and Titus.
A lover of films Dinesh Priyasad was an early viewer of “Thunderball,” the fourth Bond Film directed by Terence that was released in 1965. Dinesh was generally familiar with the technical aspects of filmmaking and directed several Sinhala films later on, including award winning Demodara Palama He also provided technical details for this article. Dinesh noticed that many underwater scenes were similar to Ran Muthu Duwa and informed his good friend Mike of his findings. Mike too watched this film several times and realised the plot. He knew for certain that some underwater sequences were being developed from his film. According to Titus, Mike became a worried man for Terence didn’t have the common courtesy to even acknowledge that in the end credits of the film “Thunderball” or written a letter thanking him. Mike’s frustration led him tomake a film naming Sorungeth Soru literally meaning “thieves are always thieves.” This was probably the wackiest feature film directed by Mike, yet it won Best Film and Best Actor awards at the 5th Sarasaviya Awards held in 1968.
Ran Muthu Duwa, with beautiful underwater scenes including fighting sequences was released on 10 August 1962, and it received overwhelmingly positive reviews. It also became the talking point throughout Sri Lanka, not only among Sinhala film fans but also those who loved Tamil and English films. Some of my Tamil friends said it was better than MGR (M.G. Ramachandran) films. Some others said it was like an “English Mystery Thriller.” Nearly one million people or ten percent of the population had seen it, and at the end of the day Ran Muthu Duwa was a tremendous commercial success. The film received “Famous film,” “Best Male Singer,” “Best Female Singer,” “Best Lyricist,” awards at the first Sarasaviya Awards held in 1964 and the “Favourite Producer” award at third Deepasika Award Ceremony in 1972.
Arthur C. Clerk who was hesitant to finance the project when proposal was made by his friend Mike, yet he exclaimed later, “I have never grown tired of watching the scenes of dawn over the great temples, the sea-washed cliffs of Trincomalee, the lines of pilgrims descending Adam’s Peak, and the mysterious underwater sequences even today, thirty-six years after it was made.” He wanted to arrange a re-release. But that never took place as he passed away on the 19th March 2008.Many of the film crew members are no more except Jeevarani Kurukulasuriya, Nanda Malini, Tissa Liyanasuriya and Hector Ekanayake.
Features
Harnessing national unity for economic growth
The budget for 2026, proposed by the government, has been generally well received. The Ceylon Chamber of Commerce praised the plan, with its Chairperson Krishan Balendra stating that “from a private-sector perspective this Budget provides stability” and emphasising that “with the steps that were taken and the discipline we have seen since 2022, Sri Lanka avoided going down the same path as countries that suffered years of high inflation and collapsing exchange rates. This budget continues that stability.” On the Opposition side, Harsha de Silva of the SJB, acknowledged that the government “has shown prudence in aligning with international financial institutions”, even though his party will continue scrutinising the human-cost of the measures and the absence of a programme to achieve economic growth.
The government’s deference to the international community with regard to economic affairs has been unexpected. Many analysts believed that given the party’s roots in Marxist ideology the leadership would adopt a more confrontational stance. Yet the opposite has happened. This adherence to the IMF’s prescriptions has brought two immediate concerns to light. First, the economic hardships on the poorer sections of the population are barely mitigated, if at all. The budget appears focused on preserving economic stability rather than growth or social justice. There is no meaningful tax relief and the tax policies are clearly framed to maximise revenue for the government rather than to benefit the people. In a war or disturbed situation, the general observation is that businesses make money not the working people, which the government needs to correct.
Second, the document does not set out a clear roadmap for how economic growth and production might be boosted in the short-term; there are no massive development projects mooted and nothing comparable to the Mahaweli River diversion or the 200-Garment Factory programme of earlier eras that improved infrastructure, like roads, water, and electricity, and contributed significantly to Sri Lanka’s rural economy. The government’s priority seems to be in avoiding another cycle of international debt and bankruptcy, as occurred in 2021, a scenario no Sri Lankan wishes to revisit. Yet there is a danger. If the current level of economic hardship continues, frustration among the people may rise and generate the very mass-based disillusionment that pushed the previous government out of power. The government needs to move now into the next phase of its economic recovery programme by mapping out a plan not just for stabilisation but for real growth of the economy.
Equal Priority
To promote growth, one of the pre-requisites is to unify the country’s multi-ethnic and multi-religious population behind the developmental effort. The government has made a commendable start by convincing all sections of society that they will be treated as equal citizens with no discrimination. In the past, the war and the ensuing political instability kept foreign investors away. Even though more than 16 years have passed since the end of the war, foreign investment has still not materialised on the scale seen in much of the rest of Asia. Among the many reasons for this reluctance for foreign companies to invest have been high levels of corruption which the government is tackling in an exemplary way and bureaucratic delays, which, unfortunately, appear to have worsened.
But just as crucial to the country’s abysmal failure to attract foreign investment has been the failure to heal the wounds of war. This is evident in the recurring sessions of the United Nations Human Rights Council (UNHRC) in Geneva. The government, therefore, needs to show the same level of commitment in dealing with the several UNHRC resolutions, notably the 2015 Resolution 30/1, followed by Resolutions 34/1, 40/1, 46/1 and 51/1 that the country has been compelled to deal with since the end of the war in 2009. Unfortunately, the indications are that the government believes that following the IMF prescriptions is more important for the country than the UNHRC recommendations. The sense conveyed is that IMF outcomes are top priority while reconciliation obligations have been put to the back-burner with the engine of development working on half-burner.
During the budget debate the President spoke in a non-committal manner to the question of holding provincial council elections as soon as possible. The system of provincial councils was established in 1987 as part of the Constitution and as a solution to the ethnic conflict, giving Tamil and Muslim minorities a measure of decision-making power where they live as a local majority. When provincial council elections fell due in 2017, the then government deliberately scuttled those elections by starting to amend the election law and stopping half way. The conduct of the provincial council elections now forms part of the UNHRC resolutions and also of the European Union’s GSP Plus requirements. The government, with its 2/3 majority in Parliament, can expedite the process of amending the election law.
For economic growth to take place the government needs to assign equal priority to the reconciliation process, in the same way it is adhering to the IMF agreement. Just as strict compliance with the economic programme has impressed international financial institutions, so, too, would the systematic implementation of the UNHRC’s resolutions impress the international human-rights community and international investors alike while reassuring the minority communities. The government would be making a serious mistake if it believed that focusing on economic development alone would win the confidence of ethnic and religious minorities. These communities also need to feel sure that the government is seriously addressing the roots of the ethnic conflict and not simply managing the symptoms.
Foreign Investment
Recent surveys, such as the Sri Lanka Barometer, reveal that levels of trust among ethnic and religious minorities, particularly those living in the North and East, where the war was fought, are ebbing and remain lower than in the rest of the country. Among the potential foreign investors are members of the Tamil diaspora, who might invest significantly in Sri Lanka if they are confident that their investments will be secure and that the government is serious about resolving the ethnic conflict. One representative of the diaspora, Roger Srivasan, a former President of UNP (UK) Branch, addressing a group of community leaders, last week, asserted that the Tamil Diaspora had an annual economic output of anywhere between USD 50 billion to double that amount, part of which they could invest in the country if they observed a credible path to sustainable peace. If the diaspora were, indeed, to commence investing in Sri Lanka in a big way, it would be a powerful signal to other international investors that Sri Lanka is politically stable and worth investing in.
A government commitment to economic recovery, with reconciliation, will mean not just improved macroeconomic indicators but deeper social cohesion, a broadened base for investment, and a more resilient economy. By investing in unity, as much as in production, the country will be able to tap into latent potential across all communities and regions. Economic growth, which benefits the majority of people in all parts of the country, does not emerge simply from fiscal adjustment but from reaching out to all citizens, ensuring they have a stake in national progress. It is not enough to stabilise the economy, the government must ensure that every citizen, regardless of ethnicity or religion, sees themselves as an integral part of the national endeavour.
In this light the budget and government policy need to reflect both economic and social-political dimensions. Projects should not only aim at GDP growth but also at healing the scars of conflict, empowering minority communities, and laying the institutions for power-sharing and trust-building to flourish. Only then will Sri Lanka be able to move beyond stabilisation into a sustainable growth era in which the full energy of all communities is harnessed, and where the benefits of development are genuinely shared. Growth will not come from positive fiscal balances alone but from overcoming the trust deficit, and building a sense of shared belonging, by providing decision-making power to those who, for decades, have felt excluded and aggrieved. By giving reconciliation the same central place as macroeconomic reform, the government will lay the foundation for economic growth that truly takes off.
by Jehan Perera
Features
Contributions of the Tea Research Institute of Sri Lanka and its Future Role
100 Years of Tea Research:
The Tea Research Institute (TRI) of Sri Lanka is celebrating its centenary this year. Hence, this is an appropriate time to review the contribution that the TRI has made to the sustenance of the Sri Lankan tea industry and assess its current and future challenges.
History and past achievements of the TRI
The tea industry of Sri Lanka started in 1867 with the first commercial tea plantation by James Taylor at Loolecondera Estate. The TRI was started in 1925 as a result of the vision and the initiative of Robert Gordon Coombe, who recognized the need of an institute to provide research-based solutions to field- and processing problems encountered by the expanding tea plantations and to generate new technologies to take the industry forward in an increasingly competitive global market. During the ensuing 100 years up to today, the Tea Research Institute has performed those primary functions that were expected from it at its inception, with varying degrees of success. The tea industry, both in Sri Lanka and elsewhere, has evolved during these 100 years, going through several phases and facing a multitude of challenges. For most of the past 100 years, the TRI of Sri Lanka has been at the forefront of innovations, research-based solutions and advisory services to sustain the Sri Lankan tea industry, enabling it to be economically profitable and globally competitive. A few major achievements are given below.
There has been a vibrant plant breeding program which has produced more than 70 new cultivars where greater yield potential has been combined with appreciable tolerance of some of the major biotic stresses (diseases and pests) and abiotic stresses (drought). Latest additions to this are four new cultivars of the TRI 5000 Series, which are recommended to the tea-growing regions at lower elevations (low-country). These will be launched at the International Tea Symposium on the 10th and 11th of November to mark the centenary of the TRI. All agronomic practices from soil rehabilitation and crop establishment to crop management and harvesting that are currently practiced by tea growers in Sri Lanka are the result of TRI’s long-term research. Starting with the famous ‘Eden trial’ (initiated by Dr. T. Eden), which was the first long-term fertilizer experiment to be done anywhere in the world for a perennial crop, the TRI has provided the guidelines for soil fertility management through soil conservation and fertilizer applications. The innovations and advances in tea processing technology generated by the TRI, most notably the fluid bed dryer, have ensured that Sri Lanka produced a tea of high quality, with a diverse range of unique characteristics. The TRI has made significant contributions to elucidating the biochemical components of black tea and its health benefits, while developing a diverse range of products such as a tea wine, a carbonated drink and tea extracts for manufacture of chilled beverages. The Pathology, Entomology and Nematology divisions of the TRI have been at the forefront of tackling some of the major pests and diseases of tea. A landmark achievement in this regard was the successful control of the pest tea tortrix using a biological agent. Importantly, the TRI has provided research-based guidelines on the correct use of agrochemicals for pest and disease control so that the consignments of made tea exported from Sri Lanka are within the maximum permissible limits of chemical residues (MRLs) as required by the different importing countries. Therefore, TRI research has ensured that Sri Lanka produces the cleanest tea to the global market. The latest contribution from the TRI to ensure market competitiveness of Ceylon Tea is the generation of the scientific data to characterize and formulate the Geographic Indicators (GI) for Ceylon Tea. It is expected that Ceylon Tea will receive GI certification in the near future.
The TRI has provided benchmarks and guidance for ensuring economic sustainability of the tea production via assessment of costs of different steps of the process, while introducing alternative worker deployment models as a solution for the prevailing labour shortage and outmigration of labour from the tea plantations. In parallel to its research program, the TRI provides an advisory and extension service which is highly sought after by managers of large plantations as well as smallholders.
Current and future challenges to the tea industry in Sri Lanka
The tea industry occupies a vital niche in the Sri Lankan economy and its socio-cultural landscape. Currently, it brings in 1.43 billion US Dollars’ worth of foreign exchange revenue and contributes 1 – 2% to the national GDP while making up 51% of the export earnings from agricultural products. It provides direct employment to 700,000 people which increases to 2.5 million people who depend directly or indirectly on the tea industry. As such, it is imperative that steps are taken to ensure the sustainability of the tea industry. This necessitates addressing several critical issues that the industry faces at present and is likely to face in the future. A few of these are discussed below:
The need to replace an aging planting stock
Sri Lanka currently has an aging planting stock in its tea plantations and smallholdings. The economic lifespan of a vegetatively propagated (VP) tea bush ranges from 25-30 years in the lower elevations (low-country) and 40-60 years in the higher elevations (up-country). A significant portion of tea bushes in Sri Lanka’s tea plantations have passed their economic lifespan. The same is true for smallholdings which are mostly concentrated in the low-country. The large plantations contain an appreciable portion of low-yielding old seedling tea, which is well over 60-80 years old. This aging planting stock is a major reason for the clear decline in national tea production, which after reaching a peak of 340 million kilograms of made tea in 2013-14, declined to 256 million kilograms in 2023. This decline was reversed to 262 million kilograms in 2024, and the current government has set an ambitious target of achieving 400 million kilograms in 2030 with an export earnings target of 2.5 billion US Dollars.
Therefore, replanting has become a critically urgent necessity to ensure sustainability in the Sri Lankan tea industry. Based on the productivity data of 2008, the TRI recommended an annual replanting rate of 2% per year (i.e. 2% of the existing tea area to be replanted every year). However, according to TRI assessments, the current replanting rate stands at 0.6% per year so that the required rate of replanting to maintain adequate production levels has risen to 3-4% per year. The high cost of replanting, which currently stands at Rs. 7.4 million per hectare, the 1½ to 2-year period without revenue (due to soil rehabilitation, replanting and bringing the plants to ‘bearing’) and the 8 to 10-year period of return-to-investment are major obstacles to increasing the replanting rate. Therefore, urgent government intervention, in the form of a well-coordinated subsidy for replanting, is needed to arrest the productivity decline that is currently occurring due to this aging planting stock. It is worth noting that the substantial investment that the industry currently puts in for fertilizer application and other field operations such as plucking, shade management and pruning does not yield its full benefit in terms of productivity, primarily because of the poor fertilizer response of this aging planting stock. In this regard, there is a request by the Regional Plantation Companies (RPCs) to extend their current lease agreement, which is due to expire in another 20 years, to ensure that these companies invest adequately on the future development of the tea plantations.

Original building (called Linfield Bungalow) where TRI was started in 1925
in the present Pedro Estate in Nuwara Eliy
The need to address the prevailing severe labour shortage
Tea is a highly labour-intensive crop, especially in Sri Lanka. A substantial portion of Sri Lanka’s tea is grown on hilly terrain which is not easily amenable to mechanization. More importantly, the price premium that Ceylon Tea enjoys in the global market is primarily due to its unique quality characteristics that comes partly because of the ‘orthodox’ manufacturing process. In order to ensure the quality characteristics of orthodox black tea, harvesting the tea shoots at the correct stage of maturity (ideally two leaves and a bud) is essential. Currently, this is possible only by manual selective harvesting because at any given time, a tea bush grown in Sri Lanka contains several generations of shoots at different stages of maturity. Therefore, selective harvesting of tea in Sri Lanka remains one of the most labour-intensive operations. Research conducted by the TRI over the last decade has shown that non-selective machine harvesting incurs a yield reduction of 40% or more in comparison to manual harvesting at a frequency of every seven days (plucking round). In contrast to tea grown in a tropical climate such as that in Sri Lanka, where a new generation of shoots is initiated weekly throughout the year, tea grown in sub-tropical or temperate climates in North India, Japan and China, which have a dormant period in the winter followed by an even generation of shoots in the spring, are amenable to non-selective machine harvesting. It is also notable that our competitor countries such as Kenya does not depend as critically on quality as Ceylon Tea and as such can afford to implement non-selective machine harvesting.
Despite the yield reduction that is incurred, most plantations in Sri Lanka have been forced to use non-selective harvesting machines and extended manual plucking rounds because of the severe shortage of labour. The labour force in the plantation sector, which stood at one million at the time of privatization in 1993, now stands at 100,000, out of which about 85% is in the tea sector. This is primarily because of the outmigration of labour, especially the younger generation, from the plantations in search of more socially acceptable and financially attractive employment outside the plantation sector and overseas. Even the smallholder sector is experiencing the shortage of pluckers which has resulted in extended plucking rounds. Research in the TRI has shown clearly that extended plucking rounds reduce the quality characteristics of made tea because a higher proportion of mature leaves come into the harvest. The TRI has addressed this critical issue of labour shortage in the tea industry via a two-pronged strategy.
Strategies to overcome the labour shortage
One strategy is to initiate a research program to develop a selective harvesting machine. In the 1990s, the TRI developed a selective harvesting shear which reduced the labour requirement for plucking while ensuring selectivity and quality without a reduction in yield. Currently, the TRI is engaged in a collaborative research program with the Arthur C. Clark Centre to develop a selective harvesting machine. The present prototype that this program has produced achieves a 60% level of selectivity, which needs further improvement, before the machine can be commercialized.
Adoption of alternative worker deployment models (AWDs) is the second strategy that the TRI has proposed to arrest the outmigration of labour from plantations and ensure availability of adequate labour to maintain the plantations with good agricultural practices (GAPs). The AWDs range from simple systems such as contract labour and cash plucking to revenue sharing and out-grower models, where the estate workers become trusted and respected partners in the venture. Several regional plantation companies have adopted different variants of AWDs with varying degrees of success. The TRI has been providing advice on the correct strategies of adopting different AWDs. (To be concluded)
The author (janendrad@gmail.com) acknowledges the information provided by Dr. H.W. Shyamalie, Principal Research Officer and Head of Agricultural Economics Division of the TRI and Dr. Mahasen Ranatunga, Director, Tea Research Institute. Most ideas and strategies discussed in this article are the result of many fruitful discussions that took place over the last two decades during deliberations of different sub-committees of the TRI and in meetings of the Tea Research Board during the past year. (To be concluded tomorrow)
Features
Bali, get ready …for Alston Koch
Singer Alston Koch, of ‘Disco Lady’ fame, has been much in the news these past few weeks.
Also known as “Asia’s King of Pop,” Alston is set to perform at the 8th WCH Royal Summit, in Bali, Indonesia.
A news release, from the organisers of this prestigious event, highlighted the following:

Alston Koch: In Indonesia for a
prestigious event
“We are absolutely thrilled to announce that the one and only Alston Koch, Asia’s King of Pop and Commonwealth Union Envoy to Australia and the Pacific Region, will join us as a VIP Guest and Celebrity Performer at the 8th WCH Royal Summit!
“Get ready, Bali! Alston will be gracing our event this November 12-13, 2025. His incredible talent and superstar presence will bring an unparalleled level of excitement to our global gathering. We can’t wait to see him perform!”
According to reports coming my way, Alston will deliver a special musical performance at the Summit, which is dedicated to promoting peace, sustainability, and cultural diplomacy.
What’s more, Alston, I’m told, will receive knighthood recognition during the WCH Royal Awards Gala Night for his outstanding contributions to music and humanity.
The Sri Lankan-born artiste, who now resides in Australia, is a passionate advocate for climate action and environmental awareness, aligning with the Summit’s theme of transforming compassion into global action.

Concert in Colombo long overdue
Alston has performed worldwide and achieved success in countries like Australia, Indonesia, Thailand, Malaysia, Singapore, India, and Sri Lanka, and he has received numerous international awards for his influence in music and philanthropy, including ARIA awards and a platinum award.
Surprisingly, we have not seen Alston doing his own thing, in our part of the world, for quite a while.
The last time I saw him in action, at a concert, was decades ago … at the BMICH!
I’m sure music lovers here would love to experience an Alston Koch concert in Colombo.
In October 2025, Alston Koch was appointed Envoy to Australia and the Pacific Region by the Commonwealth Union, representing the organisation in promoting regional collaboration, inclusivity, and sustainability.
The 8th WCH Royal Summit will take place at the UC Silver & Gold in Bali, featuring an elite assembly of global influencers dedicated to advancing peace, humanitarian development, and sustainable impact.
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